Can you tell a bit about your background (as a photographer)?

I trained as a photojournalist and worked originally as a news and sports photographer. Following this I spent ten years working in forensic photography in London – something which still influences my approach today (and is particularly clear in Silent Coast, I think). I now divide my time between lecturing on photography at a university and working on commissions and personal projects.

Can you tell us a bit more about the project ‘Silent Coast’?

I made dozens of photographic trips around the UK coastline for the book Funland, where I was working in colour and focussing on the visual language of our seafront culture, usually during high season. Silent Coast was a project showing what happens to these spaces when the people have gone home. Here I was looking at the structural elements of our often-futile attempts to culture nature and intervene in our fragile coastline in the name of fun. It’s a book which reveals the skeleton of coastal amusements, devoid of people, colour and noise – the very thing they are designed for. Much of the work was made during Covid lockdowns and around the time The UK left the EU so isolation is a key theme within the work also.

What does photography mean to you?

Photography means a great deal to me and has – for the past 20 years – been the language I feel most comfortable communicating with.

Which other photographers, designers, artists or creative people are you loving at the moment?

I admire many photographers; Bruce Wirghton, Eric Tabuchi, Dana Lixenburg, Jim Dow but also designers, writers and filmmakers. I am currently reading about tourism and how its histories can help shape new projects and ideass